Black Box Diaries: Listening to Shiori Itō at Harvard 黑箱日记:聆听伊藤诗织的哈佛对话
- Kimie ZHANG
- 1天前
- 讀畢需時 9 分鐘
This past Wednesday, I attended the Harvard screening of Black Box Diaries. This documentary, directed by Shiori Ito, first premiered at the Sundance Film Festival in January 2024. It exposes issues of gender inequality and sexual violence in Japanese society, yet the film still has not been released in Japan itself.

The large lecture hall was packed. Turning my head, I noticed a group of Japanese acquaintances in the back rows, including a female legal professional from Japan. She had told me beforehand, with a mix of anticipation and complex emotions, "People have different opinions about her approaches, but I support Shiori-san."
The film opens with Shiori's confessional selfie monologue, employing a variety of cinematic techniques. The transitions and soundtrack were seamless, making the story utterly gripping. Suddenly, the narrative paused on a specific scene – Shiori receiving an invitation from the female mayor of Tokyo, around the time of the 2017 election. "I was just a journalist; I didn't know what they expected of me by going there."
"I was 25 then. Now I'm 33." As these words faded, the film ended, and Shiori Ito herself entered the hall. She walked in wearing a black leather ankle-length skirt. My mind flashed to her public appearance in a shirt, for which she was criticized for it being "unbuttoned." When the professors rose first in a standing ovation, the entire audience followed, filling the room with applause.

The post-screening dialogue with Shiori was moderated by two leading gender studies scholars, Karen Thornber and Akiko Takeyama.
Shiori began with a playful tone, "This is a heavy topic, so please join me in doing some yoga. Inhale-- exhale--" She then shared candidly, "This documentary comes from a survivor's perspective and has sparked controversy due to its sensitive content. Thanks to AI technology, I was able to obscure certain details in CCTV footage while preserving the motion."
Moderator Akiko commented, "I've seen this film twice before; this is my third time. The conversation you've brought to us is truly remarkable. I'm struck by how audiences have such similar reactions in certain scenes." I assumed she meant the collective laughter. Akiko, a feminist anthropologist who has researched Tokyo's host clubs and the adult video industry, provided context on sexual violence in Japan. She noted victims are primarily teens and people in their twenties, with the average age being 15.1, and perpetrators are often acquaintances. Akiko asked Shiori, "You seem to be fighting against the media and legal forces. But perhaps the most difficult struggle is against 'society' itself? What has been the hardest battle for you?"

(Involuntary Consent: The Illusion of Choice in Japan's Adult Video Industry published by Stanford University Press)
"I think back to 2015… if… if… if the police had done their job, if the investigation had been proper, I would have been happy. But that didn't happen," Shiori reflected. "I didn't truly decide to go public, nor to write the book, nor to make this film. My family tried to stop me from speaking out. But we needed a case to discuss this issue. Making this film was arduous. We shot a total of 450 hours of footage. But I had a wonderful team. In the first year, I was still using a journalist's objective lens. I even considered using stop-motion animation. It's hard to believe, but that was me a few years ago, completely different from who I am now! Later, I decided to incorporate emotion; I started learning this way of storytelling. While shooting, I was just struggling to survive each day. But during editing, I truly had to confront my past and present selves, to feel how trauma works in strange ways. Sometimes I told the team I didn't want certain clips in my film. But then I thought, if I were making someone else's film, what would I do? That's how I learned. Now I'm glad it's not just my story anymore; that's a good outcome."
Shiori mentioned the support from her Swedish friend Hanna, a video journalist. "I met her in London. In 2017, she contacted me via Skype. Yes, Skype, not Zoom," she said, prompting laughter from the audience. "She let me stay at her office for three years. She told me, 'No one can harm a Swedish citizen.'" Shiori now lives in the UK.
Someone asked about the use of language in the film. Shiori replied, "Japanese is too beautiful. I needed to be polite, but I also needed to learn how to curse. I wanted to say, 'fuck it up'… But I hope more debate and conversation can happen in Japanese."
Another audience member followed up: "Why do you speak in English? Is it because you want to reach an international audience?"
Shiori seemed to ponder this. "The iPhone diary was my daily habit; it's hard to describe. I think I speak in English because it creates a distance from my own experience. Yes, that's right, good point...well, I'm not talking to Hanna all the time."
Later, the topic of support systems came up. I recalled Shiori's description in the film. Supported by senior women in media, she was shown, eyes reddening, covering her mouth trying to control her emotions, saying, "Before, whenever I stepped forward publicly, I felt naked. This time, I felt like people were piling blankets on me, one after another, almost more than I could handle."
Looking at the two moderators, Shiori said, "It's great that we have professors here today. Would you like to talk about this?" Akiko beside her seemed unprepared and politely declined.
"Maybe I can share my experience. A few days ago, we discussed this over oysters and wine," Shiori said, eliciting another wave of laughter.
She also mentioned Japanese women's support groups struggling with funding shortages. "The place I went to back then had only one person doing this work. I've been to Sweden, Taiwan, South Korea, and the UK, where I saw survivor groups for women that are much more developed. Japan needs to learn from them."
Moderator Karen noted, "Shiori once said she loves coming to university campuses, like they are safe bubbles."
Shiori responded, "Isn't this a massive healing session right now?" The audience laughed. "I have wonderful allies now! After writing the book, I lost many friends. My editor warned me it might happen. But my best friend told me, 'Even if all of Japan is against you, I am here. Even if I can't go to Japan myself…'"
When asked if she reports on others' stories, Shiori answered, "I've spoken with many people. I'm a freelancer; I don't have a platform. I wish I could bring them to a safe place. That part is missing… I tell women, 'Let's go boxing. Let's go eat spicy food.' That's how we cope together. Every time we gather, we ask each other, 'How do you cope?' And then we find out, 'Oh, you do that too?'" The audience laughed in recognition.
Another question addressed changes in the media landscape: "It seems like almost nothing has changed?"
Shiori took a breath. "Let's start with the positive. Now, Japanese media doesn't hesitate to report on this phenomenon. However, when describing it, they often downplay it using the word itazura (mischief/prank)."
Then, a Harvard student came on stage and shared findings from her research. She eloquently discussed how rape reporting rates have risen significantly in other countries, but "in Japan, the rate has increased from 1.1% to 2.1%. It's an improvement, but it's not significant."
Shiori gave a thumbs-up, smiling warmly, and replied, "You'll become an excellent journalist too!"
What I took from this film screening and conversation is the courage and passion to speak up, in our own way.
Before concluding, Shiori embraced the two moderators and urged the audience, "Despite the film's heaviness, please think about what we can do. Forget me, and take action!" The entire audience rose once more in a standing ovation, their applause escorting this storyteller—who uses humor to navigate pain and resilience to demonstrate strength—a guide who chips away at the light within a collective silence.
这周三,我有幸出席了《黑箱日记》哈佛放映会。这是由伊藤诗织执导的纪录电影,于2024年1月在圣丹斯电影节首映,该片揭露了日本社会的性别不平等问题,而该影片在日本仍未上映。
大演讲厅座无虚席。转头发现,后排正是几位日本朋友,其中一位是来自日本的女法官。她之前跟我说过“很期待”,又带有点复杂的情绪,“大家对于她的做法有所争议,但我是支持Shiori-san的。”
电影以诗织的自拍独白开场,融合了多种镜头表现手法,转场和配乐一气呵成,故事令人目不转睛。突然,电影在一个镜头卡住了——诗织收到了东京女市长的邀请,当时2017年接近选举。“我只是一个记者,我不知道去那里他们有什么期待。”
“当年我25,现在我33了。”话音落下,电影结束,诗织入场。她穿着黑色及踝皮裙走进演讲厅。我的脑海里浮现她公开场合的衬衫打扮,以及因“未系纽扣”被指责的场面。当教授们率先起立致敬,整个观众席纷纷起立鼓掌。
两位性别研究的学者Karen Thornber和Akiko Takeyama主持了与诗织的对话。
诗织带给我们一个俏皮的开场,“这是个沉重的话题,请与我一同做瑜伽,吸气,呼气。“随后坦言:“这部纪录片从幸存者视角出发,因内容敏感引发争议。感谢AI技术,让我在监控画面中隐去某些细节但保留动态。”
主持者Akiko发言,“这部电影我看了两遍,这是第三遍了。你给我们带来的这段对话真是太棒了。观众在某些场景中竟然有如此相似的反应,这让我很惊讶。”我想应该是集体笑声吧。Akiko是女性主义人类学家,曾深入调查过东京的host club和adult video industry。她向我们介绍了日本的sexual violence总体情况。受害者主要是青少年和二十几岁的人,平均年龄为 15.1 岁,施暴者通常是熟人。Akiko 询问诗织:“你似乎在与媒体和法律力量抗争。最困难的似乎是与‘社会’抗争?对你来说,最难抗争的是什么?”
“我想,回到2015年……如果……如果……如果警方尽职尽责,如果调查到位,我会很高兴。但这一切并没有发生。我并没有真正决定公开此事,也没有真正决定写书,也没有真正决定拍电影。我的家人阻止我公开此事。但我们确实需要一个案子来讨论它。拍摄这部电影很艰难。我们总共拍摄了450个小时的内容。但我拥有一支很棒的团队。第一年,我还在用新闻工作者的客观视角。我还考虑过定格动画。这很难相信,但这就是我几年前的样子,和现在完全不一样!但后来,我决定融入情感,我开始学习这种讲故事的方式。拍摄的时候,我每天都在挣扎求生。但剪辑的时候,我真的需要面对现在/过去的自己,去感受创伤是如何神奇地发挥作用的。有时我会跟团队说,我不想把这段片段放进我的电影里。但后来我想,如果我要拍别人的电影,我该怎么做?这就是我学习的方式。现在我很高兴这不再是我的故事了,这是一个好的结果。”
诗织谈到了她的瑞典朋友 Hanna(一位视频记者)是如何支持她的。“我在伦敦认识了她。2017 年她通过 Skype 和我联系。是的,是 Skype,不是 Zoom(观众笑)。她让我在她的办公室待三年。她告诉我,没有人能伤害瑞典公民。”诗织现在旅居英国。
有人提及影片中的语言使用。诗织回答,“日语太优美了。我需要礼貌一点,还要学会cursing。我想说,‘fuck it up’……但我希望更多的辩论和对话能用日语进行。”
另一位观众追问:“你为什么用英语发言?是因为你想和国际观众交流吗?”
诗织似乎在反思:“iPhone 日记是我的日常习惯,很难描述。我想我用英语发言,是因为它让我与自己的经历保持距离。是啊,是啊,说得对。是啊,我又不是一直和 Hanna说话。”
随后有人提到了支持系统。我想起电影中诗织的描述。在媒体界的女性前辈支持下,诗织眼眶通红,捂嘴拼命控制情绪,“我之前到公众面前,都觉得自己是裸着的。这一次,我感觉大家往我身上不断盖毯子,我都一下接不住了。”
诗织看向两位主持人,“太好了,今天我们刚好有教授来,你们想谈谈这个吗?”身旁的Akiko似乎没有准备,连忙推脱。
“也许我可以谈谈我的经历。几天前,我们一边吃牡蛎一边喝酒,讨论过这个问题。”现场又是一片笑声。
诗织提到了日本的女性互助组织受制于资金短缺,”当时我去的那个地方,只有一个人在做这项工作。我还去了瑞典、台湾、韩国和英国,在那里看到了女性幸存者团体,她们比日本做得好得多。日本需要向她们学习。“
主持者Karen说:“诗织曾说,很喜欢来到大学校园,如同安全的气泡空间。
诗织回答:“此刻不就是大型疗愈现场吗(观众笑)。我现在有了很棒的盟友!写完书后,我失去了很多朋友。我的编辑警告过我。但我最好的朋友告诉我,即使整个日本都反对你,我也在这里。即使我不能去日本……”
当被问到有没有报道其他人的故事,诗织回答,“我和很多人聊过。我是自由职业者,没有平台。我希望我能把她们带到安全的地方。这部分是缺失的……我告诉女性们,我们去练拳击吧。我们去吃辣的。这就是我们一起应对的方式。每次我们聚在一起,都会互相问,你们是怎么应对的。然后我们发现,哦,你们也这么做(观众笑)。”
还有人问到媒体环境的变化:“看起来几乎什么都没改变?“
诗织吸了一口气,“我们先说好的一面。现在日本媒体不会犹豫报道这种现象了。但是,他们在描述这种现象时,却轻描淡写地使用‘itazura’(恶作剧)这个词。”
然后,一名哈佛学生上台向公众汇报了她昨天的演讲。她的口才很好,谈到了其他国家的rape报告率显著上升的情况,但“在日本,报告率从 1.1% 上升到 2.1%,虽然有所改善,但并不显著。”
诗织竖起大拇指,笑容满面地回答道:“你也会成为一名优秀的记者的!”
结束前,诗织拥抱了两位主持者:“尽管影片沉重,但请思考我们所能做的。忘记我,行动起来!”全场再度起立,用掌声护送这位用幽默化解创痛、以柔韧展现力量的叙事者,一位在集体沉默中凿光而行的引路人。
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